Journal articles on the topic 'Audio-oscillator'

Oscillator circuit is one that converts DC power into AC power at a frequency without any input signal. Oscillators are commonly used in communication systems to generate carrier frequency ranging from audio frequency 20 Hz to radio frequency 100G Hz . There are two main classes of oscillators, harmonic oscillator with sinusoidal output e.g. sine wave and relaxation oscillator with non sinusoidal output e.g. square wave, triangle wave, etc. . In this paper, class A Colpitts oscillator with LC feedback circuit is designed as a radio frequency oscillator to generate the output signals at 5M Hz. After designing, this circuit is simulated with Multisim software to analyze the effect of power supply on its frequency stability. Three supply voltages, 14 V, 12 V and 10 V are set as sample parameters to analyze the variation of frequency and voltage of the output signal. Changing DC power supply one by one as the above selected parameters in Multisim, the change of value of frequencies are noted and output signal results are also shown with the help of virtual oscillator. Thit Waso Khine "Designing Class a Colpitts Oscillator and Analyzing the Effect of DC Power Supply on its Frequency Stability" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-3 | Issue-5 , August 2019, URL: https://www.ijtsrd.com/papers/ijtsrd28022.pdf

Adaptive oscillators (AOs) are nonlinear oscillators with plastic states that encode information. Here, an analog implementation of a four-state adaptive oscillator, including design, fabrication, and verification through hardware measurement, is presented. The result is an oscillator that can learn the frequency and amplitude of an external stimulus over a large range. Notably, the adaptive oscillator learns parameters of external stimuli through its ability to completely synchronize without using any pre- or post-processing methods. Previously, Hopf oscillators have been built as two-state (a regular Hopf oscillator) and three-state (a Hopf oscillator with adaptive frequency) systems via VLSI and FPGA designs. Building on these important implementations, a continuous-time, analog circuit implementation of a Hopf oscillator with adaptive frequency and amplitude is achieved. The hardware measurements and SPICE simulation show good agreement. To demonstrate some of its functionality, the circuit’s response to several complex waveforms, including the response of a square wave, a sawtooth wave, strain gauge data of an impact of a nonlinear beam, and audio data of a noisy microphone recording, are reported. By learning both the frequency and amplitude, this circuit could be used to enhance applications of AOs for robotic gait, clock oscillators, analog frequency analyzers, and energy harvesting.

Frequency oscillator is one of the basic devices that can be used in most electrical, electronics and communications circuits and systems. There are many types of oscillators depending on frequency range used in an application such as audio, radio and microwave. The needed was appeared to use high and very high frequencies to make the rapid development of advanced technology Colpitts oscillator is one of the most common types of oscillator, it can be used for radio frequency (RF), that its output signal is often utilized at the basic of a wireless communication system in most application. In this research, a Colpitts oscillator is comprised from a bipolar junction transistor (BJT) amplifier with <strong>LC</strong> tank. This design is carrying out with a known Barkhausen criterion for oscillation. Firstly, is carried out using theoretical calculation. The secondary is carried out using simulation (Multisim 13). All the obtained result from the above two approaches are 10 MHz and 9.745 MHz respectively. This result is seen to be very encouraging.

<abstract> <p>High precision oscillators became a significant call for both designer and testing engineers. Modern vibrators are being utilized in a variety of circuits, and accessibility to a wide range of frequencies is of the utmost importance in all research establishments. To produce various frequencies, utilizing a single gadget is very challenging for the designers. This article aims to provide the low frequency (RC) oscillator and high frequency (LC) oscillators with various output frequencies on a single chip. The use of both oscillators is necessary due to the fact that there are currently no such devices on the market, which makes it necessary to avoid using bulky recurrence generator hardware in order to facilitate rapid exploration and plausibility research. Here, a RC oscillator with high current accuracy and a LC oscillator with low force have been used to design a voltage controlled oscillator (VCO) IC by utilizing the Cadence 45 nm technology. This particular VCO IC is able to obtain two different frequencies with reasonable precision. Further, execution is completed by utilizing exclusive requirement inconsistent message format designing<italic>.</italic> This proposed work can be used at both audio frequency and radio frequency ranges from megahertz (MHz) to gigahertz (GHz).</p> </abstract>

A miniaturized, low-power external unit has been developed for the clinical trials of a semi-implantable middle ear electromagnetic hearing device (SIMEHD) which uses radio-frequency telemetry to couple sound signals to the internal unit. The external unit is based on a commercial hearing aid which provides proven audio amplification and compression. Its receiver is replaced by an application-specific integrated circuit (ASIC) which: 1) adjusts the direct-current bias of the audio input according to its peak value; 2) converts the audio signal to a one-bit digital form using Σ—Δ modulation; 3) modulates the Σ—Δ output with a radio-frequency (RF) oscillator; and 4) drives the external RF coil and tuning capacitor using a field-effect transistor operated in class D. The external unit functions as expected and has been used to operate bench-top tests of the SIMEHD. Measured current consumption is 1.65 - 2.15 mA, which projects to a battery lifetime of about 15 days. Bandwidth is 6 kHz and harmonic distortion is about 2%.

Partially speaking students and users of augmentative/alternative communication systems commonly benefit from a method of signalling to initiate or repair their communicative efforts. This article describes a simple way of modifying a common, inexpensive 9-volt portable transistor radio to serve as a durable, cosmetically attractive audio oscillator signalling device that can be operated by a single external switch. The unit can still be used as a radio receiver in the usual fashion. Instructions for modification and use are described, with suggestions for switches and mounting.

Artikel ini bertujuan untuk menjabarkan teknik dalam penggarapan komposisi musik multimedia yang berjudul The Sound of Gasiang Tangkurak. Gagasan komposisi musik ini berangkat dari ritual magis basirompak, yang terdapat di Nagari Taeh Baruah Kabupaten Limapuluh Kota. Musik ini digarap menjadi sebuah karya musik electroacoustic. Penggarapan karya bertujuan untuk menjabarkan Teknik dalam menggunakan software Digital Audio Workstation (DAW), Virtual Studio Tecnology (VST), midi controller, sample atau library sound dan beberapa event fx, yaitu berupa tahapan mixing seperti balancing (Volume, Panning, Autamation), Dinamic fx (Compressor, Multiband compressor, Limiter), Modulation fx ¬(Chorus, Phaser, Delay) dan Stereo Imager (Left-Right, dan Mid-Side) hinggal menghasilkan karya musik. Selain itu karya ini juga menggunakan teknik-teknik sound design, yaitu pengolahan audio shyntesis yang meliputi wave shape (sine, square, triangle, sawtooth), LFO (low frekuensi oscillator) dan juga envelope (attack, decay, sustain dan relase). Metode yang digunakan dalam karya dan dijabarkan dalam artikel ini adalah ekplorasi, eksperimentasi, dan perwujudan. Hasil dalam artikel ini berupa teknik yang digunakan dalam membuat karya musik electroacoustic berjudul The Sound of Gasiang TangkurakABSTRACTThis article aims to describe the techniques in composing a multimedia music composition entitled The Sound of Gasiang Tangkurak. The idea of this musical composition departs from the magical ritual of the basirompak, which is found in Nagari Taeh Baruah, Limapuluh Kota Regency. This music was made into a work of electroacoustic music. The purpose of this work is to describe techniques for using Digital Audio Workstation (DAW) software, Virtual Studio Technology (VST), midi controllers, sound samples or libraries and several fx events, namely in the form of mixing stages such as balancing (Volume, Panning, Authentication), Dynamic fx (Compressor, Multiband compressor, Limiter), Modulation fx (Chorus, Phaser, Delay) and Stereo Imager (Left-Right, and Mid-Side) to produce music. In addition, this work also uses sound design techniques, namely audio synthesis processing which includes wave shape (sine, square, triangle, sawtooth), LFO (low frequency oscillator) and envelope (attack, decay, sustain and release). The methods used in this work and described in this article are exploration, experimentation, and embodiment. The results in this article are the techniques used in making electroacoustic music entitled The Sound of Gasiang Tangkurak.

There are different types of electronic oscillators that have a wide variety of applications in areas such as computing, audio, communication, among others. One of these is the harmonic oscillators that generate an output sinusoidal signal. Due to the advantages of these, this paper proposes a methodology based on an analysis based on the dynamical system theory. This provides undergraduates a useful tool for a better understanding of the harmonic oscillators in order to design and implement accurately this kind of circuits. This tool complements the widely recognized Barkhausen criterion, which is a mathematical condition that must be satisfied by linear feedback oscillators. The analysis based on the dynamical system theory consists of obtaining a state matrix and its eigenvalues from the mathematical model of the oscillator circuits. The eigenvalues are adjusted to get an oscillator system, thus from this way, a set of conditions are derived. These conditions are complementary to those obtained by the Barkhausen criterion.

This paper aims to design an all-digital phase-locked loop (ADPLL) intended for professional digital audio data conversion applications. The method used for designing is based on an analogy between analog PLL and ADPLL. Managing a low-jitter effect, a comparative study between discrete voltage-controlled oscillator (DVCO) and direct digital synthesis (DDS) based on a pseudorandom binary sequence (PRBS) generator is performed. The features of the design in this work are high-precision and low harmonic distortion DDS which is combined with ADPLL. For model-based design validation, a rapid register transfer level (RTL) with VHSIC hardware description language (VHDL) is practiced and the dynamic performance result indicates a significant improvement in total harmonic distortion (THD) ([Formula: see text][Formula: see text]dB) and a better resolution of 18.97[Formula: see text]bits for audio applications based on the aid of phase dithering DDS enhancement circuit.

This paper explains and provides code to synthesize and control, in real-time, the audio signals produced by a dynamical system. The code uses only the Matlab programming language. It can be controlled with an external MIDI (Musical Instrument Data Interface) device, such as a MIDI keyboard or wind controller, or with mouse-operated sliders. In addition to the audio output, the demonstrator computes and displays the amplitude and fundamental frequency of the signal, which is useful to quantify the dynamics of the model. For the sake of this example, it is a type of Van der Pol oscillator, but more complex systems can be handled. The demonstrator holds potential for pedagogical and preliminary research applications, for various topics related to dynamical systems: direct and inverse bifurcations, transient effects such as dynamical bifurcations, artifacts introduced by integration schemes, and above all, the dynamics of self-sustained musical instruments.

The paper presents an original architecture and implementation of 9-bit LBDD hybrid DPWM circuit for Class-BD digital audio amplifier. The input PCM signals are directly transformed into 24-bit LBDD DPWM signals and then are requanized to the 9-bit digital outputs using noise-shaping process to support high fidelity with practical values of time resolution, and finally are converted by the DTCs into the two physical trains of 1-bit PWM signals. The architecture of the proposed Class-BD hybrid DPWM circuit is composed of two Class-AD ones. The hybrid quantizer converts 6 MSB bits using counter method, based on the STM32F407xx microcontroller, while the remaining 3 LSB bits - using a method based on the Programmable Tapped Delay Line (PTDL). All necessary time waveforms are generated on the base of the internal microcontroller oscillator 168 MHz. The proposed 9-bit Class-DB DPWM circuit allows to attain SNR of 110 dB and THD about 0,2% within the audio baseband, at switching frequency of 328.1 kHz, clock frequency of 42 MHz and modulation index M = 0.95. Basic verification of algorithm and circuit operation as well as simulation and preliminary experimental results have been performed.

A metal detector using the Beat Frequency Oscillator principle and solenoid induction has been made using a series of tools (IC NE 555, capacitors with values ​​of 3.3 F and 4.7 F, resistors 4.9 kΩ, enamel wire 0.3 mm, 4Ω 3W speakers, and 9V battery). The measuring limit of the tool is obtained through measurements using a metal material, namely iron, where the measured value variables are the value of frequency and voltage Vpp, and the average value of the frequency in the input data after the object is 868.1786 Hz and the average value of the Vpp voltage is 1,427 Volts. While the output data obtained the average frequency value is 863.4895 Hz and the average value of Vpp voltage is 0.325 Volt after the object, as for the sound produced before and after the object the difference is too small, so an amplifier circuit is added using an IC LM386 as Audio Amplifier.

Laser intensity noise suppression has essential effects on preparation and characterization of the audio-frequency squeezed vacuum state of light based on a sub-threshold optical parametric oscillator (OPO). We have implemented two feedback loops by using relevant acousto-optical modulators (AOM) to stabilize the intensity of 795-nm near infrared (NIR) fundamental laser and 397.5-nm ultraviolet (UV) laser generated by cavity-enhanced frequency doubling. Typical peak-to-peak laser intensity fluctuation with a bandwidth of ~10 kHz in a half hour has been improved from ±7.45% to ±0.06% for 795-nm NIR laser beam, and from ±9.04% to ±0.05% for 397.5-nm UV laser beam, respectively. The squeezing level of the squeezed vacuum state at 795 nm prepared by the sub-threshold OPO with a PPKTP crystal has been improved from −3.3 to −4.0 dB around 3~9 kHz of analysis frequency range.

The desirable properties exhibited in some nonlinear dynamical systems have many potential uses. These properties include sensitivity to initial conditions, wide bandwidth, and long-term aperiodicity, which lend themselves to applications such as random number generation, communication and audio ranging systems. Chaotic systems can be realized in electronics by using inexpensive and readily available parts. Many of these systems have been verified in electronics using nonpermanent prototyping at very low frequencies; however, this restricts the range of potential applications. In particular, random number generation (RNG) benefits from an increase in operation frequency, since it is proportional to the amount of bits that can be produced per second. This work looks specifically at the nonlinear element in the chaotic system and evaluates its frequency limitations in electronics. In practice, many of nonlinearities are difficult to implement in high speed electronics. In addition to this restriction, the use of complex feedback paths and large inductors prevents the miniaturization that is desirable for implementing chaotic circuits in other electronic systems. By carefully analyzing the fundamental dynamics that govern the chaotic system, these problems can be addressed. Presented in this work is the design and realization of a high frequency chaotic oscillator that exhibits complex and rich dynamics while using a compact footprint and low power consumption.

A new axially vibrating sensor based on an audio voice coil transducer and a lead zirconate titanate (PZT) piezoelectric disc microphone was developed as a probe for the measurement of in vitro rheological fluid properties, including curing progress for polymethylmethacrylate (PMMA) mixtures with important uses as bone cement in the field of orthopedics. The measurement of the vibrating axial sensor’s acoustic spectra in PMMA undergoing curing can be described by a damped harmonic oscillator formalism and resonant frequency (ca. 180 Hz) shift can be used as an indicator of curing progress, with shifts to the blue by as much as 14 Hz. The resonant frequency peak was measured in 19 different 4.0 g PMMA samples to have a rate of shift of 0.0462 ± 0.00624 Hz·s−1 over a period of 400 s while the PMMA was in a dough state and before the PMMA transitioned to a hard-setting phase. This transition is unambiguously indicated by this sensor technology through the generation of a distinct circa 5 kHz high-Q under-damped ring-down response.

Indonesia's aerospace sector plays a crucial role in maintaining national sovereignty. However, the country's airspace is often infiltrated by irresponsible parties, necessitating an effective monitoring system. Unmanned radio-controlled helicopters are a potential solution, although they are limited in range. This study aims to design a long-range control system for radio-controlled helicopters using satellite phone communication, which offers wide coverage and can reach remote areas. The system comprises a remote control, a radio converter circuit, an audio mixer, and a satellite phone. The radio converter functions to transform the radio control signal frequency into its original frequency without a carrier frequency, which is then re-converted to be compatible with satellite phone input for signal transmission. Test results indicate that the system can transmit control signals with adequate frequency stability within the expected range. Despite minor oscillator instability at certain stages, the system overall operates as designed. In conclusion, this satellite phone-based control system effectively extends the operational range of radio-controlled helicopters and serves as a strategic solution for monitoring Indonesia's airspace.

Abstract This paper presents a systematic methodology for designing a voltage-mode multifunction biquad filter employing the commercially available active element, LT1228. The proposed topology adopts a three-input single-output (TISO) configuration. The circuit comprises a single LT1228, two capacitors, and three resistors, offering a highly compact design. The TISO biquad filter is capable of providing five fundamental filtering responses: low-pass (LP), band-pass (BP), high-pass (HP), band-reject (BR), and all-pass (AP) responses, within the same circuit architecture. Notably, these responses are achieved without the need for additional inverting amplifiers or reconfigurations of passive components. The parameters of the proposed filter, encompassing the natural (ω0 ) and quality factor (Q), are determined by electronic adjustment. Furthermore, we can adapt the proposed biquad filter to function as a current-controlled sinusoidal oscillator. The oscillation frequency is adjustable independently of the oscillation condition. We verified the performance and validity of the proposed circuits through PSpice simulations and experimental implementations in a laboratory setting. The proposed circuits hold immense significance for applications requiring precise signal generation and filtering, such as communication systems, test instrumentation, audio processing, automation and control systems.

This paper presents a drone auralization model that reproduces the spectro-temporal and spatial characteristics of a drone during flight. Focusing on perceptual plausibility, the time-variant processes are modeled by taking into account the statistical amplitude and frequency modulation distributions of a reference drone sound. For completeness, the far-field directivity is extracted based on time-variant wave backpropagation from microphone array signals. Both components consider a combined level calibration with regard to the reconstructed sound pressure on a spherical surface around the source. With regard to reproducibility, this paper is accompanied by supplemental data to present a synthesis model including the oscillator and digital filter coefficients for procedural audio synthesis. From evaluation, the model shows good agreement by comparison of psychoacoustic measures of the synthesized drone to a recorded reference. The drone auralization model can be applied in future research on urban soundscapes where Unmanned Aerial Vehicles (UAV) may appear in a great variety of use cases. Furthermore, it can deliver input data for simulation tools where the spatial radiation characteristics of a drone should be included, such as the development of array-based drone detection.

There are many naturally occurring systems of coupled oscillators, e.g., the synchronization of firefly flashes, frog calls, and electrical impulses in the brain. The behavior of a large system of coupled oscillators can be approximated using the Kuramoto-Daido model. The model shows that phase calculations for each oscillator can be simplified by comparing each oscillator’s phase to the average phase of the collection, eliminating the need to sum over the whole group. In this session, we will explore this algorithm in Max/MSP. We will look at simple systems with a small number of low frequency oscillators, both free-running and rhythmically quantized/Euclidean, as a means of generating rhythmic patterns and sequences. Then we will look at larger collections of oscillators within the audible frequency range and explore how the algorithm can be used to modulate audio signals for timbral effects. This example will delve into how the coupling algorithm affects oscillators that have frequency relationships drawing from the overtone series. We will also see how delaying the averaged signal simulates a proximity effect that more closely resembles the localized synchronization that occurs in natural systems.

A magnetron is a power oscillator device used in several radar transmitters for generating the electromagnetic wave (EMW) with a constructive and fixed frequency. In this work, a radar transmitter has been carried out using magnetron operates at 2,458 MHz and two conducting layers waveguides to achieve minimum loss of the signal due to the increased temperature. The magnetron is connected with the high voltage capacitor (1.0 μF) in order to store the alternating current (AC) signal delivered from the high voltage transformer. A waveguide parts have been used as transmission lines in view of connecting the magnetron to the antenna. These parts include two metal layers, the upper layer (outer) is advanced audio coding (AAC) 1350 aluminum conductor and the lower (inner) is copper. The waveguide dimension should be suitable to flow frequency from 2.2 GHz to 3.3 GHz. To measure the operating frequency, a waveguide adapter and a coaxial cable which combined with n-female connector have been connected to magnetron. The wave is delivering to the frequency counter by Bayonet Neill–Concelman (BNC) to n-female connectors. The promising results of the proposed work have been achieved with a maximum power, efficient return loss, acceptable voltage standing wave ratio (VSWR) and low-cost manufacturing.

A bagpipe is a type of wind instrument that contains a melody pipe, which has an enclosed reed called the chanter and other drone pipes. The chanter is the part of the bagpipe that supplies the note, and the air that the pipes are fed is provided by the bag, which is inflated by a blowpipe and driven by the player’s arm. The goal of this project was to create a bagpipe using a program called Supercollider. Supercollider is used for audio synthesis. While creating this artificial bagpipe (here on referred to as a ‘synth’), it was broken down into four components: the chanter, the base drone, the first tenor drone and the second tenor drone. The chanter has the frequency of the note, the base drone’s frequency will be half that of the chanter and the frequency of the tenor drone will be half that of the base drone. This is because of the length of the pipes in relation to each other. In order to create the synth, a sine oscillator was used, and then put through a resonance filter, and then a reverb filter. This was done in order to mimic the echo that sound has when it is forced through a tube, or enclosed space. All four pipes were added together to create the synth. In order to play a song, the synth was put into a pattern so Supercollider could receive an array of notes, which serve as the frequency of the chanter, and then play the song automatically. The notes for Amazing Grace were transcribed into midi-notes and beat durations and these arrays were fed into the pattern to create the song. The synthetic version of Amazing Grace, in terms of frequency and loudness, was then graphed and compared to the graph of a recording of Amazing Grace played on a real bagpipe. There are differences between the two sound files, the most significant being that the real bagpipe has much more variation in terms of loudness. The synthesized bagpipe had a more gradual and subdued noise level, where the natural bagpipe was much more randomized. Taking the comparisons into consideration, Supercollider can be used to create an approximation of a bagpipe, but under scrutiny, the artificial version currently falls short.

Wireless connectivity challenges hinder the deployment of embedded systems. We introduce AudioCast to address two critical issues: spectrum scarcity-induced contention and high power consumption in transmitters. The widespread availability of broadcast radio receivers (for example, FM radios using the 88-108 MHz spectrum) and access to underutilized lower-frequency spectrum motivate the design of AudioCast. The lower-frequency spectrum offers superior radio-wave propagation characteristics, exhibiting at least 10 × lower path loss than the 2.4 GHz and 5 GHz Industrial, Scientific, and Medical (ISM) bands while avoiding congestion and interference. These properties enable reliable and long-distance communication, even for weakly radiated signals. AudioCast builds on these properties and the unique negative resistance of a tunnel diode. AudioCast rethinks the architecture of radio transmitters using a tunnel diode oscillator to generate carrier signals and self-modulate them with baseband signals. This results in frequency-modulated transmissions at an overall power consumption below 200 μW. Unlike related systems based on the backscatter mechanism, AudioCast does not require an externally generated carrier or rely on ambient signals. We argue that AudioCast represents an example of a new class of transmitters which we conceptualize as Beyond-Backscatter transmitters. Through experiments, we demonstrate that AudioCast achieves a transmission range of up to 130 m in line-of-sight and tens of meters in non-line-of-sight conditions respectively. These transmissions are decodable by ubiquitous commodity FM receivers in cars, homes, and phones. We evaluate AudioCast through theoretical analysis, benchtop experiments, and urban/indoor field deployments. Additionally, we prototype and demonstrate novel applications, including low-power voice transmissions and hand gesture communication, enabled by AudioCast's range and power efficiency.

Abstract Founded in 2016 at Université de Montréal, Ensemble d’oscillateurs (French for Oscillator Ensemble) brings together ten musicians around old analog test equipment oscillators that produce audio sine waves. The ensemble performs new compositions while also arranging early electronic pieces. In parallel, the project developed itself as a space to gather information and reflect on sine wave-based music. This article presents some of the key considerations and challenges in the formation of Ensemble d’oscillateurs. Based on the observations made throughout the development of a body of work using these audio oscillators, it then aims to open a discussion on some aspects of the historical trajectory of the use of sine waves in modern music.

To produce a large range of audio frequencies especially to produce sinusoidal oscillation in signal generator RC series parallel oscillator plays a major role. Sinusoidal oscillation is constituted of four parts: amplifier circuit, frequency selection network, positive feedback circuit and amplitude stabilization link. The principle is that when the DC power supply is turned off, the frequency reaches the interference signal string and enters the input terminal of the oscillation circuit, and appears at the output terminal of the circuit after amplification. But due to the small amplitude and frequency mixing, they are not the output signals we are looking for. After the signal passes through the frequency selection and positive feedback network, a frequency signal shields other signals, suppresses it and returns to the input end of the amplifier circuit. The circuit loop gain should be slightly greater than 3 to obtain the desired result. This continuous periodic amplification results in distortion of the output signal, and the final image chain can output a sine wave with a fixed frequency, amplitude, and stability.

ABSTRACTA key component of Internet of Things (IoT) nodes is the phase‐locked loop (PLL), yet power distribution remains an issue with the digital versions of these nodes. Reducing the high‐power distribution, which usually regulates the all‐digital PLL (ADPLL) power close to the digitally controlled oscillator (DCO), is essential for the development of the ultra‐low‐power ADPLL. The low‐level audio will reduce the active signal‐to‐noise ratio (SNR), when ADPLL is used in a communications system, causing significant inaccuracy and reducing the data rate. Therefore, it is vital to understand the trade‐off between phase noise, lock time performance, and variability in ADPLL. We present the improved design optimal sampling digital PLL (OS‐DPLL) for IoT applications in this paper. The proposed OS‐DPLL consists of a loop module (LM), ring oscillator (RO), first‐order digital loop filter (F‐DLF), divider chain, and bang–bang phase frequency detector (BBPFD), which uses the improved bang–bang approach. In addition, an efficient operating system is introduced to isolated operating modes, which provide standard bandwidth performance for sound and spectral purity in a closed phase mode. The simulation result determines the effectiveness of the proposed OS‐DPLL design based on power consumption, hardware utilization, and throughput.

Project presents a digital storage oscilloscope with real-time visualization capabilities and frequency control. The system is based on the flexible ESP32 microcontroller architecture, which allows for the creation of a wide range of waveforms at tunable frequencies. Quick waveform adaptation is made possible by users' easy control over the oscillator's frequency in real-time through simple input techniques. Additionally, the system has a graphical user interface that allows users to instantly visualize created signals and easily monitor waveform properties. The oscillator is appropriate for a variety of applications in industries like audio synthesis, instrumentation, and telecommunications because it also provides sophisticated control options and signal processing capabilities. This comprehensive solution meets the needs of both enthusiasts and experts in signal production and visualization by providing a practical and versatile tool for those working in

A magnetron is a power oscillator device used in several radar transmitters for generating the electromagnetic wave (EMW) with a constructive and fixed frequency. In this work, a radar transmitter has been carried out using magnetron operates at 2,458 MHz and two conducting layers waveguides to achieve minimum loss of the signal due to the increased temperature. The magnetron is connected with the high voltage capacitor (1.0 μF) in order to store the alternating current (AC) signal delivered from the high voltage transformer. A waveguide parts have been used as transmission lines in view of connecting the magnetron to the antenna. These parts include two metal layers, the upper layer (outer) is advanced audio coding (AAC) 1350 aluminum conductor and the lower (inner) is copper. The waveguide dimension should be suitable to flow frequency from 2.2 GHz to 3.3 GHz. To measure the operating frequency, a waveguide adapter and a coaxial cable which combined with n-female connector have been connected to magnetron. The wave is delivering to the frequency counter by Bayonet Neill–Concelman (BNC) to n-female connectors. The promising results of the proposed work have been achieved with a maximum power, efficient return loss, acceptable voltage standing wave ratio (VSWR) and low-cost manufacturing.

Nonlinear differential equations rarely admit closed-form solutions, thus requiring numerical time-stepping algorithms to approximate solutions. Further, many systems characterized by multiscale physics exhibit dynamics over a vast range of timescales, making numerical integration expensive. In this work, we develop a hierarchy of deep neural network time-steppers to approximate the dynamical system flow map over a range of time-scales. The model is purely data-driven, enabling accurate and efficient numerical integration and forecasting. Similar ideas can be used to couple neural network-based models with classical numerical time-steppers. Our hierarchical time-stepping scheme provides advantages over current time-stepping algorithms, including (i) capturing a range of timescales, (ii) improved accuracy in comparison with leading neural network architectures, (iii) efficiency in long-time forecasting due to explicit training of slow time-scale dynamics, and (iv) a flexible framework that is parallelizable and may be integrated with standard numerical time-stepping algorithms. The method is demonstrated on numerous nonlinear dynamical systems, including the Van der Pol oscillator, the Lorenz system, the Kuramoto–Sivashinsky equation, and fluid flow pass a cylinder; audio and video signals are also explored. On the sequence generation examples, we benchmark our algorithm against state-of-the-art methods, such as LSTM, reservoir computing and clockwork RNN. This article is part of the theme issue ‘Data-driven prediction in dynamical systems’.

The Ivory-billed Woodpecker (Campephilus principalis) is an iconic species that has survived in barely detectable numbers for the past 100 years, during which it has been feared extinct only to be rediscovered several times. The most recent rediscovery was announced in an article that was featured on the cover of Science in 2005. The persistence of the Ivory-billed Woodpecker became controversial when ornithologists were unable to obtain a clear photo for documenting this ultra-elusive bird during multi-year searches at sites in Arkansas and Florida, where they had several sightings and were convinced these birds were present. Audio recordings of ‘kent’ calls and double knocks were obtained at both sites, but such recordings are not regarded as conclusive evidence of persistence. A debate on this issue that took place in Science and Nature focused on relatively weak video evidence obtained in Arkansas but excluded three videos obtained in Louisiana and Florida that show flights, field marks, and other behaviors and characteristics that are consistent with the Ivory-billed Woodpecker but no other species of the region. Kent calls were recorded in the 1930s, when other types of vocalizations were observed but not recorded, including a high-pitched alarm call. On two occasions in Louisiana, high-pitched calls were observed coming from the direction of an alarmed Ivory-billed Woodpecker, and several of them were recorded. The spectrograms of the high-pitched calls and all other known and putative vocalizations of the Ivory-billed Woodpecker consist of simultaneously excited harmonics. A harmonic oscillator model has been used to draw a connection between the drumming that is typical of most woodpeckers and the double knocks of the Ivory-billed Woodpecker and other Campephilus woodpeckers. Drumming corresponds to periodic forcing; double knocks correspond to impulsive forcing, and a single thrust of the body is sufficient to produce two impacts of the bill in rapid succession. The audio recordings from Arkansas and Florida were obtained with single microphones. A horizontal array of microphones would make it possible to detect weaker sounds and determine the directions of sources. This approach has the potential to lead to the discovery of a nest, and it might be more effective if the array is placed above the treetops, where sounds might propagate to longer ranges.


 
 
 In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Musical “quotation” is actively encouraged in jazz, and contemporary hip-hop would not exist if the genre’s pioneers and progenitors had not plundered and adapted existing recorded music. Sampling technologies, however, have taken musical adaptation a step further and realised Cage’s prediction. Hardware and software samplers have developed to the stage where any piece of audio can be appropriated and adapted to suit the creative impulses of the sampling musician (or samplist). The practice of sampling challenges established notions of creativity, with whole albums created with no original musical input as most would understand it—literally “records made from records.” Sample-based music is premised on adapting audio plundered from the cultural environment. This paper explores the ways in which technology is used to adapt previous recordings into new ones, and how musicians themselves have adapted to the potentials of digital technology for exploring alternative approaches to musical creativity. Sampling is frequently defined as “the process of converting an analog signal to a digital format.” While this definition remains true, it does not acknowledge the prevalence of digital media. The “analogue to digital” method of sampling requires a microphone or instrument to be recorded directly into a sampler. Digital media, however, simplifies the process. For example, a samplist can download a video from YouTube and rip the audio track for editing, slicing, and manipulation, all using software within the noiseless digital environment of the computer. Perhaps it is more prudent to describe sampling simply as the process of capturing sound. Regardless of the process, once a sound is loaded into a sampler (hardware or software) it can be replayed using a MIDI keyboard, trigger pad or sequencer. Use of the sampled sound, however, need not be a faithful rendition or clone of the original. At the most basic level of manipulation, the duration and pitch of sounds can be altered. The digital processes that are implemented into the Roland VariOS Phrase Sampler allow samplists to eliminate the pitch or melodic quality of a sampled phrase. The phrase can then be melodically redefined as the samplist sees fit: adapted to a new tempo, key signature, and context or genre. Similarly, software such as Propellerhead’s ReCycle slices drum beats into individual hits for use with a loop sampler such as Reason’s Dr Rex module. Once loaded into Dr Rex, the individual original drum sounds can be used to program a new beat divorced from the syncopation of the original drum beat. Further, the individual slices can be subjected to pitch, envelope (a component that shapes the volume of the sound over time) and filter (a component that emphasises and suppresses certain frequencies) control, thus an existing drum beat can easily be adapted to play a new rhythm at any tempo. For example, this rhythm was created from slicing up and rearranging Clyde Stubblefield’s classic break from James Brown’s “Funky Drummer”. Sonic adaptation of digital information is not necessarily confined to the auditory realm. An audio editor such as Sony’s Sound Forge is able to open any file format as raw audio. For example, a Word document or a Flash file could be opened with the data interpreted as audio. Admittedly, the majority of results obtained are harsh white noise, but there is scope for serendipitous anomalies such as a glitchy beat that can be extracted and further manipulated by audio software. Audiopaint is an additive synthesis application created by Nicolas Fournel for converting digital images into audio. Each pixel position and colour is translated into information designating frequency (pitch), amplitude (volume) and pan position in the stereo image. The user can determine which one of the three RGB channels corresponds to either of the stereo channels. Further, the oscillator for the wave form can be either the default sine wave or an existing audio file such as a drum loop can be used. The oscillator shapes the end result, responding to the dynamics of the sine wave or the audio file. Although Audiopaint labours under the same caveat as with the use of raw audio, the software can produce some interesting results. Both approaches to sound generation present results that challenge distinctions between “musical sound” and “noise”. Sampling is also a cultural practice, a relatively recent form of adaptation extending out of a time honoured creative aesthetic that borrows, quotes and appropriates from existing works to create new ones. Different fields of production, as well as different commentators, variously use terms such as “co-creative media”, “cumulative authorship”, and “derivative works” with regard to creations that to one extent or another utilise existing works in the production of new ones (Coombe; Morris; Woodmansee). The extent of the sampling may range from subtle influence to dominating significance within the new work, but the constant principle remains: an existing work is appropriated and adapted to fit the needs of the secondary creator. Proponents of what may be broadly referred to as the “free culture” movement argue that creativity and innovation inherently relies on the appropriation and adaptation of existing works (for example, see Lessig, Future of Ideas; Lessig, Free Culture; McLeod, Freedom of Expression; Vaidhyanathan). For example, Gwen Stefani’s 2004 release “Rich Girl” is based on Louchie Lou and Michie One’s 1994 single of the same title. Lou and One’s “Rich Girl”, in turn, is a reggae dance hall adaptation of “If I Were a Rich Man” from Fiddler on the Roof. Stefani’s “na na na” vocal riff shares the same melody as the “Ya ha deedle deedle, bubba bubba deedle deedle dum” riff from Fiddler on the Roof. Samantha Mumba adapted David Bowie’s “Ashes to Ashes” for her second single “Body II Body”. Similarly, Richard X adapted Tubeway Army’s “Are ‘Friends’ Electric?’ and Adina Howard’s “Freak Like Me” for a career saving single for Sugababes. Digital technologies enable and even promote the adaptation of existing works (Morris). The ease of appropriating and manipulating digital audio files has given rise to a form of music known variously as mash-up, bootleg, or bastard pop. Mash-ups are the most recent stage in a history of musical appropriation and they epitomise the sampling aesthetic. Typically produced in bedroom computer-based studios, mash-up artists use software such as Acid or Cool Edit Pro to cut up digital music files and reassemble the fragments to create new songs, arbitrarily adding self-composed parts if desired. Comprised almost exclusively from sections of captured music, mash-ups have been referred to as “fictional pop music” because they conjure up scenarios where, for example, Destiny’s Child jams in a Seattle garage with Nirvana or the Spice Girls perform with Nine Inch Nails (Petridis). Once the initial humour of the novelty has passed, the results can be deeply alluring. Mash-ups extract the distinctive characteristics of songs and place them in new, innovative contexts. As Dale Lawrence writes: “the vocals are often taken from largely reviled or ignored sources—cornball acts like Aguilera or Destiny’s Child—and recast in wildly unlikely contexts … where against all odds, they actually work”. Similarly, Crawford argues that “part of the art is to combine the greatest possible aesthetic dissonance with the maximum musical harmony. The pleasure for listeners is in discovering unlikely artistic complementarities and revisiting their musical memories in mutated forms” (36). Sometimes the adaptation works in the favour of the sampled artist: George Clinton claims that because of sampling he is more popular now than in 1976—“the sampling made us big again” (Green). The creative aspect of mash-ups is unlike that usually associated with musical composition and has more in common with DJing. In an effort to further clarify this aspect, we may regard DJ mixes as “mash-ups on the fly.” When Grandmaster Flash recorded his quilt-pop masterpiece, “Adventures of Grandmaster Flash on the Wheels of Steel,” it was recorded while he performed live, demonstrating his precision and skill with turntables. Modern audio editing software facilitates the capture and storage of sound, allowing mash-up artists to manipulate sounds bytes outside of “real-time” and the live performance parameters within which Flash worked. Thus, the creative element is not the traditional arrangement of chords and parts, but rather “audio contexts”. If, as Riley pessimistically suggests, “there are no new chords to be played, there are no new song structures to be developed, there are no new stories to be told, and there are no new themes to explore,” then perhaps it is understandable that artists have searched for new forms of musical creativity. The notes and chords of mash-ups are segments of existing works sequenced together to produce inter-layered contexts rather than purely tonal patterns. The merit of mash-up culture lies in its function of deconstructing the boundaries of genre and providing new musical possibilities. The process of mashing-up genres functions to critique contemporary music culture by “pointing a finger at how stifled and obvious the current musical landscape has become. … Suddenly rap doesn’t have to be set to predictable funk beats, pop/R&B ballads don’t have to come wrapped in cheese, garage melodies don’t have to recycle the Ramones” (Lawrence). According to Theodor Adorno, the Frankfurt School critic, popular music (of his time) was irretrievably simplistic and constructed from easily interchangeable, modular components (McLeod, “Confessions”, 86). A standardised and repetitive approach to musical composition fosters a mode of consumption dubbed by Adorno “quotation listening” and characterised by passive acceptance of, and obsession with, a song’s riffs (44-5). As noted by Em McAvan, Adorno’s analysis elevates the producer over the consumer, portraying a culture industry controlling a passive audience through standardised products (McAvan). The characteristics that Adorno observed in the popular music of his time are classic traits of contemporary popular music. Mash-up artists, however, are not representative of Adorno’s producers for a passive audience, instead opting to wrest creative control from composers and the recording industry and adapt existing songs in pursuit of their own creative impulses. Although mash-up productions may consciously or unconsciously criticise the current state of popular music, they necessarily exist in creative symbiosis with the commercial genres: “if pop songs weren’t simple and formulaic, it would be much harder for mashup bedroom auteurs to do their job” (McLeod, “Confessions”, 86). Arguably, when creating mash-ups, some individuals are expressing their dissatisfaction with the stagnation of the pop industry and are instead working to create music that they as consumers wish to hear. Sample-based music—as an exercise in adaptation—encourages a Foucauldian questioning of the composer’s authority over their musical texts. Recorded music is typically a passive medium in which the consumer receives the music in its original, unaltered form. DJ Dangermouse (Brian Burton) breached this pact to create his Grey Album, which is a mash-up of an a cappella version of Jay-Z’s Black Album and the Beatles’ eponymous album (also known as the White Album). Dangermouse says that “every kick, snare, and chord is taken from the Beatles White Album and is in their original recording somewhere.” In deconstructing the Beatles’ songs, Dangermouse turned the recordings into a palette for creating his own new work, adapting audio fragments to suit his creative impulses. As Joanna Demers writes, “refashioning these sounds and reorganising them into new sonic phrases and sentences, he creates acoustic mosaics that in most instances are still traceable to the Beatles source, yet are unmistakeably distinct from it” (139-40). Dangermouse’s approach is symptomatic of what Schütze refers to as remix culture: an open challenge to a culture predicated on exclusive ownership, authorship, and controlled distribution … . Against ownership it upholds an ethic of creative borrowing and sharing. Against the original it holds out an open process of recombination and creative transformation. It equally calls into question the categories, rifts and borders between high and low cultures, pop and elitist art practices, as well as blurring lines between artistic disciplines. Using just a laptop, an audio editor and a calculator, Gregg Gillis, a.k.a. Girl Talk, created the Night Ripper album using samples from 167 artists (Dombale). Although all the songs on Night Ripper are blatantly sampled-based, Gillis sees his creations as “original things” (Dombale). The adaptation of sampled fragments culled from the Top 40 is part of Gillis’ creative process: “It’s not about who created this source originally, it’s about recontextualising—creating new music. … I’ve always tried to make my own songs” (Dombale). Gillis states that his music has no political message, but is a reflection of his enthusiasm for pop music: “It’s a celebration of everything Top 40, that’s the point” (Dombale). Gillis’ “celebratory” exercises in creativity echo those of various fan-fiction authors who celebrate the characters and worlds that constitute popular culture. Adaptation through sampling is not always centred solely on music. Sydney-based Tom Compagnoni, a.k.a. Wax Audio, adapted a variety of sound bytes from politicians and media personalities including George W. Bush, Alexander Downer, Alan Jones, Ray Hadley, and John Howard in the creation of his Mediacracy E.P.. In one particular instance, Compagnoni used a myriad of samples culled from various media appearances by George W. Bush to recreate the vocals for John Lennon’s Imagine. Created in early 2005, the track, which features speeded-up instrumental samples from a karaoke version of Lennon’s original, is an immediate irony fuelled comment on the invasion of Iraq. The rationale underpinning the song is further emphasised when “Imagine This” reprises into “Let’s Give Peace a Chance” interspersed with short vocal fragments of “Come Together”. Compagnoni justifies his adaptations by presenting appropriated media sound bytes that deliberately set out to demonstrate the way information is manipulated to present any particular point of view. Playing the media like an instrument, Wax Audio juxtaposes found sounds in a way that forces the listener to confront the bias, contradiction and sensationalism inherent in their daily intake of media information. … Oh yeah—and it’s bloody funny hearing George W Bush sing “Imagine”. Notwithstanding the humorous quality of the songs, Mediacracy represents a creative outlet for Compagnoni’s political opinions that is emphasised by the adaptation of Lennon’s song. Through his adaptation, Compagnoni revitalises Lennon’s sentiments about the Vietnam War and superimposes them onto the US policy on Iraq. An interesting aspect of sampled-based music is the re-occurrence of particular samples across various productions, which demonstrates that the same fragment can be adapted for a plethora of musical contexts. For example, Clyde Stubblefield’s “Funky Drummer” break is reputed to be the most sampled break in the world. The break from 1960s soul/funk band the Winstons’ “Amen Brother” (the B-side to their 1969 release “Color Him Father”), however, is another candidate for the title of “most sampled break”. The “Amen break” was revived with the advent of the sampler. Having featured heavily in early hip-hop records such as “Words of Wisdom” by Third Base and “Straight Out of Compton” by NWA, the break “appears quite adaptable to a range of music genres and tastes” (Harrison, 9m 46s). Beginning in the early 1990s, adaptations of this break became a constant of jungle music as sampling technology developed to facilitate more complex operations (Harrison, 5m 52s). The break features on Shy FX’s “Original Nutta”, L Double & Younghead’s “New Style”, Squarepusher’s “Big Acid”, and a cover version of Led Zepplin’s “Whole Lotta Love” by Jane’s Addiction front man Perry Farrell. This is to name but a few tracks that have adapted the break. Wikipedia offers a list of songs employing an adaptation of the “Amen break”. This list, however, falls short of the “hundreds of tracks” argued for by Nate Harrison, who notes that “an entire subculture based on this one drum loop … six seconds from 1969” has developed (8m 45s). The “Amen break” is so ubiquitous that, much like the twelve bar blues structure, it has become a foundational element of an entire genre and has been adapted to satisfy a plethora of creative impulses. The sheer prevalence of the “Amen break” simultaneously illustrates the creative nature of music adaptation as well as the potentials for adaptation stemming from digital technology such as the sampler. The cut-up and rearrangement aspect of creative sampling technology at once suggests the original but also something new and different. Sampling in general, and the phenomenon of the “Amen break” in particular, ensures the longevity of the original sources; sampled-based music exhibits characteristics acquired from the source materials, yet the illegitimate offspring are not their parents. Sampling as a technology for creatively adapting existing forms of audio has encouraged alternative approaches to musical composition. Further, it has given rise to a new breed of musician that has adapted to technologies of adaptation. Mash-up artists and samplists demonstrate that recorded music is not simply a fixed or read-only product but one that can be freed from the composer’s original arrangement to be adapted and reconfigured. Many mash-up artists such as Gregg Gillis are not trained musicians, but their ears are honed from enthusiastic consumption of music. Individuals such as DJ Dangermouse, Gregg Gillis and Tom Compagnoni appropriate, reshape and re-present the surrounding soundscape to suit diverse creative urges, thereby adapting the passive medium of recorded sound into an active production tool. References Adorno, Theodor. “On the Fetish Character in Music and the Regression of Listening.” The Culture Industry: Selected Essays on Mass Culture. Ed. J. Bernstein. London, New York: Routledge, 1991. Burnett, Henry. “Ruggieri and Vivaldi: Two Venetian Gloria Settings.” American Choral Review 30 (1988): 3. Compagnoni, Tom. “Wax Audio: Mediacracy.” Wax Audio. 2005. 2 Apr. 2007 http://www.waxaudio.com.au/downloads/mediacracy>. Coombe, Rosemary. The Cultural Life of Intellectual Properties. Durham, London: Duke University Press, 1998. Demers, Joanna. Steal This Music: How Intellectual Property Law Affects Musical Creativity. Athens, London: University of Georgia Press, 2006. Dombale, Ryan. “Interview: Girl Talk.” Pitchfork. 2006. 9 Jan. 2007 http://www.pitchforkmedia.com/article/feature/37785/Interview_Interview_Girl_Talk>. Duffel, Daniel. Making Music with Samples. San Francisco: Backbeat Books, 2005. Forbes, Anne-Marie. “A Venetian Festal Gloria: Antonio Lotti’s Gloria in D Major.” Music Research: New Directions for a New Century. Eds. M. Ewans, R. Halton, and J. Phillips. London: Cambridge Scholars Press, 2004. Green, Robert. “George Clinton: Ambassador from the Mothership.” Synthesis. Undated. 15 Sep. 2005 http://www.synthesis.net/music/story.php?type=story&id=70>. Harrison, Nate. “Can I Get an Amen?” Nate Harrison. 2004. 8 Jan. 2007 http://www.nkhstudio.com>. Lawrence, Dale. “On Mashups.” Nuvo. 2002. 8 Jan. 2007 http://www.nuvo.net/articles/article_292/>. Lessig, Lawrence. The Future of Ideas. New York: Random House, 2001. ———. Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. New York: The Penguin Press, 2004. McAvan, Em. “Boulevard of Broken Songs: Mash-Ups as Textual Re-Appropriation of Popular Music Culture.” M/C Journal 9.6 (2006) 3 Apr. 2007 http://journal.media-culture.org.au/0612/02-mcavan.php>. McLeod, Kembrew. “Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic.” Popular Music & Society 28.79. ———. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday Books. Morris, Sue. “Co-Creative Media: Online Multiplayer Computer Game Culture.” Scan 1.1 (2004). 8 Jan. 2007 http://scan.net.au/scan/journal/display_article.php?recordID=16>. Petridis, Alexis. “Pop Will Eat Itself.” The Guardian UK. March 2003. 8 Jan. 2007 http://www.guardian.co.uk/arts/critic/feature/0,1169,922797,00.html>. Riley. “Pop Will Eat Itself—Or Will It?”. The Truth Unknown (archived at Archive.org). 2003. 9 Jan. 2007 http://web.archive.org/web/20030624154252 /www.thetruthunknown.com/viewnews.asp?articleid=79>. Schütze, Bernard. “Samples from the Heap: Notes on Recycling the Detritus of a Remixed Culture”. Horizon Zero 2003. 8 Jan. 2007 http://www.horizonzero.ca/textsite/remix.php?tlang=0&is=8&file=5>. Vaidhyanathan, Siva. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York, London: New York University Press, 2003. Woodmansee, Martha. “On the Author Effect: Recovering Collectivity.” The Construction of Authorship: Textual Appropriation in Law and Literature. Eds. M. Woodmansee, P. Jaszi and P. Durham; London: Duke University Press, 1994. 15. 
 
 
 
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